Singing canons is a wonderful way to help young singers develop independence, sing harmony and polyphony, and all with material that takes much less time to learn than music cast in more than one part. In strict canon, everyone sings the same part: we all learn the same melody and text together, and once it’s solid split up the group, start singing it at different times, and presto! musical magic.
Canons can be simple enough for very young children to learn in a few minutes or so challenging that professional choirs must exert considerable effort to sing them well. With a broad repertoire of canons on the tip of her tongue, the skilled music teacher is ready to make or teach satisfying music with students of any level, for any occasion, at any time or place.
Over the course of my teaching career I taught dozens of canons to students of all ages: rounds with students beginning in Kindergarten, catches with more experienced singers (usually by third grade). We sang canons about everything: happy and sad canons, silly canons, canons about love, animals, God, food, about music itself. Canons in English, Latin, French, German, Russian. Canons. One of the most important canons I tried to teach to all of my students over the years is the ancient Sumer Is Icumen In, which I have written in detail about here.
Another fabulous canon which I taught to hundreds of students from elementary through high school, and which is the subject of today’s article, is the indignant and difficult “chiding” catch Fie, Nay, Prithee John by the great Henry Purcell. And yes, by teaching this song, I taught my students to swear.
On Friday, March 31, from 4 – 10 pm, Christ Church Cathedral at 900 Broadway in downtown Nashville proudly presents the 11th Annual BACHanalia. This unique, beloved event is a continuous, six hour concert of our friend Sebastian’s music presented once a year as a gift to the community. Click here for the church’s official announcement of the event. Note the new times! This year’s event will be held from 4 – 10 pm, not 5 – 11 pm as in previous years.
Again this year I was very lucky, and was granted a sneak peak at BACHanalia 2017‘s performers and selections, which I now leak to you here, oh readers of Off The Podium. Warning: Spoilers!
Our friend Sebastian was born this time of year in 1685 – on March 21 or March 31, depending on whether you recognize Old or New Style (Julian or Gregorian) calendar conventions for commemorating things that happened centuries ago. I have friends who insist that one or other date is correct, but for me it doesn’t matter – for me, every year for many years now I have observed a quiet little personal eleven-day period of reflection on Bach’s music between March 21 and March 31. Each day for eleven days, I set aside some time to both play some of Sebastian’s music (on piano, harpsichord, or lute) and to intentionally listen to some of my favorite recordings of pieces that have touched me deeply.
March is Early Music Month, an annual campaign to promote awareness of early music throughout the North American musical community. Early Music Month is promoted and designed by Early Music America, a national organization that facilitates and encourages communication, collaboration, raising awareness, and sharing resources for those interested in historical performance and music before the 19th century.
It’s therefore timely – and no surprise – that our fair Music City has several phenomenal events coming up this month that feature live performances of music from the old repertoires, including both performances by local ensembles and rare visits from acclaimed European musicians.
Part of a series of articles on
Preparing a School Winter Solstice Performance
This past week the Nashville Symphony performed our annual string of December Messiah concerts. An annual event featuring a different conductor and vision for the performance of this masterwork each year, it is remarkable to me how resilient Händel’s Messiah is, and how much the community here at the symphony -as well as the larger surrounding community of Music City – looks forward to it every year. It’s one of those monuments of the repertoire that has become part of the collective consciousness.
This year’s performance with guest conductor Christopher Warren-Green brought a historically-informed perspective to the performance, with brisk tempi and the incorporation of a theorbist who doubled on baroque guitar to the continuo section. I was thrilled to hear how excited our musicians were about Messiah this year in conversations I had with them (or overheard) during rehearsals. Sitting in the balcony on Sunday afternoon for the final matinee performance, the enthusiasm of the musicians and the audience was palpable. In the exhilaration following the concert I found myself thinking a lot about this remarkable piece of music, and especially one movement in particular – the unique and absolutely one-of-a-kind Hallelujah Chorus – and why and how it occupies such a singular place in our musical culture.
Part of a series of articles on
Preparing a School Winter Solstice Performance
In dulci jubilo is a famous medieval Christmas carol. It is a macaronic carol (i.e. the text is in a mixture of languages): the original text alternates between German and Latin. The words are attributed to the German mystic (and student of Meister Eckhart) Heinrich Seuse (1295 – 1366), and describes his vision of singing angels dancing with him.
It is one of our oldest, loveliest, and most important carols. The lilting, singsongy, exuberant melody and the relative ease with which they were able to learn it made it popular with my students of all ages – from elementary through high school. Although not a piece I included as an annual repeating feature of Winter Solstice performances, I would program In dulci jubilo every few years, and most of my students sang or played it in a Winter Solstice production at some point.
The Lute Appendix iii
In the summer of 1996, I attended The Lute Society of America‘s Summer Seminar West in Vancouver, BC. The event took place from July 29 – August 2, 1996 at the Vancouver Early Music Festival held at The University of British Columbia.
Earlier this month the LSA held the 2016 summer seminar at Case Western Reserve University in Cleveland, and as my FaceBook feed was briefly inundated with photos and videos that attendees posted on the LSA FaceBook Group, I found myself reminiscing about my experience in Vancouver twenty years ago. It was one of the most memorable weeks of my life.
Roger Wiesmeyer’s multi-faceted role in the Nashville classical music scene has long been a important presence in our community. Born in Nashville, Roger grew up here and attended Hillsboro High School and Blair School of Music before going away to school at Curtis Institute and on to positions in the Pittsburgh, San Francisco and Honolulu symphonies. He returned to Nashville in 2001 to become the Nashville Symphony’s english horn player. In addition to his work as an oboist and english horn player, Roger is an accomplished pianist, and he has presented annual concerts to celebrate Mozart’s birthday every year since 2003.
This month Roger is launching a new project – and gift – to Music City: the Nashville Concerto Orchestra.
Next Friday, April 15, from 5 – 11 pm, more than 100 Nashville musicians align efforts to perform the 10th Annual BACHanalia at Christ Church Cathedral, 900 Broadway in downtown Nashville. This unique, beloved event is a continuous, six hour concert of our friend Sebastian’s music presented once a year as a gift to the community. Click here for the church’s official announcement of the event.
In past years I have brought student ensembles to perform in this event, and this year I am fortunate to be performing myself. I was also very lucky, and was leaked a sneak peak at BACHanalia 2016‘s performers and selections, which I am now going to share with you here, dear readers of Off The Podium. Warning: Spoilers Ahead!
To his 18th century contemporaries, Georg Philipp Telemann was the most famous, influential, and highly-regarded German musician of the day. Four years older than his friends J.S. Bach and Händel – both of whose reputations have now eclipsed his – Telemann was more prolific than either, wrote sacred and secular, vocal and instrumental music in virtually every genre, published on a nearly unprecedented scale, and did more than any other musician of his time to break down barriers that kept music a separate and elite component of civic, court, and church ceremony to elevate the role of music in the life of the middle class.